Koiya koi nasu na koi

"Koiya koi nasuna koi" is a film I would characterize as the opposite of "crazy". Everything about it was skillfully and deliberately crafted, controlled.

Ironic that it is over forty years old. Contemporary films could use more of its use and mastery of creative technology. As example are some science fiction films I've seen in the past ten years: a tremendous amount of money, time and effort spent on technology that ultimately resulted in a "muddy-ing" (darkening and blurring) of the image. What is a film, if not the visual image? "Koiya koi nasuna koi" possesses fresh, original colors and image clarity.

I was really touched by the combination of theater, animation, legend/mythology, history, love and ghost stories that created a compelling, totally memorable experience for the viewer. Praise for director, crew and actors.

Movies by Uchida Tomu were subtitled very recently and are only shown at festivals... but not to be missed.

Here, the demonstration is done that Love never works, through three (or is it one? --- it is one) impossible-love-stories.

It could seem to start like an epic movie, but it is definitely not so: Mixing elements of noh, kabuki and kinky erotic; assumed filmed theater and "normal" movie; and much more, the movie is never messy. The story is complex enough and can be seen a different levels, but it remains clear and understandable. That is art and entertainment. And not depressing though the subject is not optimistic.

Another extremely good Japanese movie from the 60's.

This film was not made for foreign distribution and was not screened outside of Japan.

Many films wither with time. This seems to magically resist esthetic decay. It must have been very influential for Japanese cinema, being one of its first cinemascope films, using the screen in ways that are nothing less than perfect, even seen with a contemporary eye.

A deep and complex medieval story on love, dismissing the western paradigm of "suspension of disbelief." At any point there is no forgetting you are watching a movie just as at any point of reading a graphic novel you will not confuse the drawings with reality.

Firework of colors, the animation, face masks and artificial theater stage designs make the story dig even deeper into the human condition of love and pain.

A true gem and I believe still influential up to this day for anyone interested in the art of cinema.

Starts slow but worth the wait. Came out on Bluray recently.

Watch on a screen as big as possible.

Koiya Koi Nasuna Koi is internationally known as Love, Thy Name Be Sorrow or as The Mad Fox. This movie was made by Uchida Tomu, who has been making several remarkable period dramas known as jidaigeki. This particular movie is based upon a puppet theatre play, also known as a bunraku play, from the early eighteenth century. This is the reason why the movie includes several elements of theatre play such as pieces of scenery, singing performances and stages. Artistically, intellectually and visually, this movie is certainly unique and might need some time to properly unfold.

The story is quite complex, epic and traditional. It revolves around renowned fortune-teller Kamo no Yasunori who is murdered in a plot planned by his devious wife and his jealous former student. His faithful disciple and his adopted daughter get blamed for this vicious crime. She gets tortured to death while he manages to escape, murders the pitiless widow of the deceased fortune-teller and steals the oracle scroll. Maddened by the tragical series of events, the faithful disciple wanders Japan until he meets the twin sister of the murderer adopted daughter. Mistaking her for the deceased lady, he decides to settle with her. The jealous former student has however mobilized troops to find and assassinate the maddened disciple and reclaim the oracle scroll. As the troops are hunting the faithful disciple and his lover, a fox lady gets severely injured. The disciple saves her life and brings the kitsune to her husband and her granddaughter who falls in love with the disciple. On their way back home, the disciple and his lover get attacked and separated by the troops. The fox people intervene, save their lives and retrieve the oracle scroll. The granddaughter takes the appearance of the disciple's lover, nurses him back to health and established a family with him. A dramatic turn of events occurs when the faithful disciple regains his sanity and understands that he has been tricked more than once.

This film convinces on multiple layers. First and foremost, the influences of traditional Japanese theatre plays make this film creative, diversified and unique. The folkloristic elements ranging from characters over costumes to locations add much depth to the movie. The detailed, diversified and profound story challenges viewers on an emotional and intellectual level.

However, this film also has a few minor downsides. Its intellectual style might be difficult to approach not only for foreign audiences but also for contemporary Japanese viewers. This film at times includes too many ideas instead of fleshing out a few essential points. The settings look cheap and haven't aged particularly well. The singing performances that increase by the movie's resolution sound nerve-firing.

At the end of the day, Koiya Koi Nasuna Koi is a movie that deserves to be explored by cineasts who like to think outside the box. The combination of folklore, musical and theatre elements make this romantic drama one of a kind. Viewers however need an open mind and a lot of patience to appreciate this film for what it is. This movie is best enjoyed on your own on a rainy night but nothing to be watched with family members or friends in a joyful and light-hearted setting.

This is a film to proof that there are different ways to tell a story. We are so used to watch the Hollywood style. This film incorporates animation, kabuki and Butoh, colorized experiments, collapsing sets, animal masks (where you realize it is your fantasy which makes the illusion complete and not a perfect computer animation!). It's a crazy colorful tale about a court fortune teller driven mad by a murder, who ends up marrying a fox in human form. Erika Gregor, the formal Berlinale-Forum curator said about the film: "No film in recent years has surprised, fascinated, and also moved me as much." The beginning is a bit dry but it is worth waiting until the magic begins.